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source audio c4

#224
BurningSkies said:
Might I suggest to the guys who have 'em in their rig, a limiter or compressor set to as close to limit as you can get for the purpose of testing sounds when you do it to protect your speakers. Then after a blast you can roll that master volume on the C4 back to compensate.
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Don't know if it hurts or helps that I have a compressor before and after the C4, one on a light setting on the EHX Battalion at the front of my chain, then the EHX Platform right after the C4 to take the stereo out. Synth pedals always seem to have the most variable responses, so I try to tame it as best as I can before the envelope filters and reverb.

And at home I've alternated between using my GK MB115 (and blasting my head off in the process), and using headphones (and blasting my ears in the process, but found this to be quite useful for detecting suboctaves that could be devastating to a speaker and that I don't pick up with the full bore sound of the MB115 in a small room). Rehearsal space has different volume level, and each venue offers its own challenges and volume settings, so this is likely to be a tricky thing, but I really like the idea of always having one of the two knobs set for volume when publishing the preset, so that it can easily be dialed back without affecting the volume you want to have it pretty much set for on the top left volume/sensitivity knob. While rehearsing I didn't have any volume blasts in switching, just some sounds to be a bit louder than others, which is normal. I still fight volume battles with my Markbass SuperSynth. (By the way, that seems to be an underrated pedal, don't hear it spoken about much, but it tracks extremely well, does some polyphony, has a good range of sounds, a good desktop editor. Paired with an envelope filter, it's just as badass as the Deep Impact and C4...) I anticipate the volume battles will be lessened with the C4 the more I use it, but don't expect it to disappear completely any more than I do volume struggles or wars on stage and in practice.
 
#225
AlvarHanso said:
Don't know if it hurts or helps that I have a compressor before and after the C4, one on a light setting on the EHX Battalion at the front of my chain, then the EHX Platform right after the C4 to take the stereo out. Synth pedals always seem to have the most variable responses, so I try to tame it as best as I can before the envelope filters and reverb.

And at home I've alternated between using my GK MB115 (and blasting my head off in the process), and using headphones (and blasting my ears in the process, but found this to be quite useful for detecting suboctaves that could be devastating to a speaker and that I don't pick up with the full bore sound of the MB115 in a small room). Rehearsal space has different volume level, and each venue offers its own challenges and volume settings, so this is likely to be a tricky thing, but I really like the idea of always having one of the two knobs set for volume when publishing the preset, so that it can easily be dialed back without affecting the volume you want to have it pretty much set for on the top left volume/sensitivity knob. While rehearsing I didn't have any volume blasts in switching, just some sounds to be a bit louder than others, which is normal. I still fight volume battles with my Markbass SuperSynth. (By the way, that seems to be an underrated pedal, don't hear it spoken about much, but it tracks extremely well, does some polyphony, has a good range of sounds, a good desktop editor. Paired with an envelope filter, it's just as badass as the Deep Impact and C4...) I anticipate the volume battles will be lessened with the C4 the more I use it, but don't expect it to disappear completely any more than I do volume struggles or wars on stage and in practice.
Click to expand...


My live board has a compressor and a limiter at the front of my chain. I'm more suggesting a limiter behind the C4 when testing and scrolling random patches as a way to protect your hearing and your speakers. ;)

All patches are tamable once you have a moment to change that volume control, then once you're 'on the gig' you can fine-tune during soundcheck. :) Every venue will have it's own challenges but if you've got your effects volumes sorted that'll be the least of your worries. But yeah, having one of the CTRL's set for volume may be a huge help on the fly for adjustments. Once you know your sound and the live volume you'll mostly use, you can re-assess what you slot to that CTRL.

Part of the 'volume' problem isn't a volume problem. Is that you can dramatically change the tone profile of your bass sound with the click of a switch. More low end, high end or general shift in tone profile may read as way louder when in fact you're actually just getting 'more' or wider.
 
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#226
BurningSkies said:
My live board has a compressor and a limiter at the front of my chain. I'm more suggesting a limiter behind the C4 when testing and scrolling random patches as a way to protect your hearing and your speakers. ;)

All patches are tamable once you have a moment to change that volume control, then once you're 'on the gig' you can fine-tune during soundcheck. :) Every venue will have it's own challenges but if you've got your effects volumes sorted that'll be the least of your worries. But yeah, having one of the CTRL's set for volume may be a huge help on the fly for adjustments. Once you know your sound and the live volume you'll mostly use, you can re-assess what you slot to that CTRL.

Part of the 'volume' problem isn't a volume problem. Is that you can dramatically change the tone profile of your bass sound with the click of a switch. More low end, high end or general shift in tone profile may read as way louder when in fact you're actually just getting 'more' or wider.
Click to expand...

Agreed. I had the limiter engaged on the Platform until last week as a matter of fact. But I thought since I have one engaged on the amp, too, it might squish things too much. I have been tweaking all the presets as I save them, and volume is part of that tweaking. One unfortunate aspect of that tweaking is I've been then engaging other pedals to find larger sounds, and that sidetracks me from more tweaking on the C4 sounds. Just need more time on my hands, though hope that won't be construed as a desire for Dorian to leave me about the house for several days like Florence last year.
 
#229
Gibs210 said:
Best to have c4 at the front of your chain for pitch detection and envelope triggering, then use the second in/out pair to place the desired effects later in the chain. Compressor in front of c4 can mess with tracking quality.
Click to expand...

I keep the Battalion first to split the signal to feed a completely clean amp signal, then the other line goes to the MWBDP for a clean EQ boost, though my dirt also is supplied there, so if I want to drive the Markbass or the C4 a bit, it's the driver, not a passenger. I gotta keep that dry signal to fatten everything, especially when I'm in outer space reverb territory.
 
#230
I would still have to push the button on and off again before clicking the next effect I want, but now for my other hub effects.The cool radio feature is one major reason I switched from the Midi Moose to Soleman. It is cool though, I think you guys will eventually have hub compatibility. I will usually only have one C4 effect per panel, so only one footswitch to dance on.
 
#231
BurningSkies said:
Isn't the provided cable T/R/R/S? Most standard adapters unless you've looked for that won't be.
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I was using the adapter that came with my Mesa Boogie WD-800 for the AUX input which I assumed was TRS (it has TRS 1/4" male), but as soon as I switched to a different adapter it worked. Maybe the Tip and Ring were reversed on it, who knows? Up and running with a long cable now :)

One problem I do still have is ground loop hum when using my laptop and the USB port on the C4. When my laptop is connected to a dock for monitors / audio interface etc, I get substantial interference. If I disconnect the dock, all is well. I assume it's a result of different power supplies in the chain.
 
#232
RudyTardy said:
I was using the adapter that came with my Mesa Boogie WD-800 for the AUX input which I assumed was TRS (it has TRS 1/4" male), but as soon as I switched to a different adapter it worked. Maybe the Tip and Ring were reversed on it, who knows? Up and running with a long cable now :)

One problem I do still have is ground loop hum when using my laptop and the USB port on the C4. When my laptop is connected to a dock for monitors / audio interface etc, I get substantial interference. If I disconnect the dock, all is well. I assume it's a result of different power supplies in the chain.
Click to expand...
USB ports can be noisy. You can get USB isolators that solve this.
 
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#233
Hoss Groovealot said:
I would still have to push the button on and off again before clicking the next effect I want, but now for my other hub effects.The cool radio feature is one major reason I switched from the Midi Moose to Soleman. It is cool though, I think you guys will eventually have hub compatibility. I will usually only have one C4 effect per panel, so only one footswitch to dance on.
Click to expand...

Ok so you don’t want more than one pedal on at a time, i see now.

Easiest solution would be to program individual hub presets for each pedal you want on and leave the others off. Then use radio switching for all 4.

You could also program macros if you don’t want more than pedal at a time on. Just make a master macro to bypass everything, then make a macro for each pedal you want on and then turn the others off within that macro, but this is over complicating the process however.
 
#234
rsmith601 said:
The little box has 1/8 output, just like a headphone jack. I go from here to pedal using the same cable as usual. Most all Bluetooth audio adapters have a headphone jack out. Very simple.
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Tried it with my bluetooth adapter which itself has a male trs minijack instead of the female out. I used a 1/8" to 1/4" adapter and the Neuro App works now :)
 
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